I play a girl.

I have ulterior motives, but I also like role-playing. These are role-playing games, I tell myself, and why not play the furthest role from what I am. What I am is a middle-aged man, thick with beard and tattoos, who never lost his love for video games, and I choose a girl. The smallest, most feminine model. Long red hair and eyes like the sky. I know what men want so I shape it in front of me on the screen, fit my design to their desire.

My desire — my ulterior motive, because I have two daughters entering an adult world they know nothing about — is to smash men in the mouth with my shield. I like the idea of this small, frail female avatar slicing them with steel. So I shield her with armor, with bracers and belt, gauntlets and greaves, until she is completely covered. Because I know, from my years walking around in a man’s skin, that the male players are thinking of putting their own swords inside her, at the moment just before she fucks them up. More… “The Princess is in Another Castle”

Paul Crenshaw’s essay collection This One Will Hurt You is forthcoming from The Ohio State University Press in spring 2019. Other work has appeared in Best American Essays, Best American Nonrequired Reading, The Pushcart Prize, anthologies by Houghton Mifflin and W.W. Norton, Oxford American, Ecotone, Brevity, North American Review, and Glimmer Train, among others. @PaulCrenstorm

Originally from Albuquerque, New Mexico, Olivia Gatwood is a poet, performer, and educator. A Brave New Voices, Women of the World, and National Poetry Slam finalist, her poetry has been featured on HBO, Huffington Post, MTV, VH1, and BBC. Her latest book, New American Best Friend, reflects her experiences growing up in both New Mexico and Trinidad, navigating girlhood, relationships, class, and sexuality. Olivia is also a Title IX Compliant educator in sexual assault prevention and recovery and has performed internationally at over 200 schools and universities.
Ever since discovering Olivia’s poetry on Youtube at 16, her words have become a constant in my life. They’ve made their way into sleepovers, my irrational horror at the doctor’s office, and early-morning bus rides. They’ve helped me in times of uncertainty, encouraging me to take pride in the things I was once ashamed of. Olivia was kind enough to speak with me about her work and experience as a poet, Title IX educator, and her upcoming book, set to release with The Dial Press/Random House in 2019.

More… “Ode to Olivia”

Camille DiBenedetto is a staff writer for The Smart Set and an English major at Drexel University. In her free time, you can find her watching romantic comedies, listening to slam poetry, or rereading The Summer I Turned Pretty for the 27th time.


When revolt has no object, it turns on itself, opposing all imagined foes in wanton destruction of imagined barriers. Most apparently since the advent of Romanticism in the late 18th and early 19th centuries, revolt has often been focused on an object considered in more personal terms — the introspective rebel pitched against disinterested systems and in search of a soul divested of the stain of acquisition, the taint of the tangible. Yet, sometimes, all the rebel finds is empty space where identity used to dwell. And this is where we find ourselves in the West today, with open, democratic societies in the grip of revolt against rationalism and its accompanying pluralism.

Pankaj Mishra, in Age of Anger, asserts that Rousseau, a scion of Enlightenment thinking and one of its chief antagonists, saw the danger of shunting the religious, the provincial, and the irrational to the margins and the shadows. Rousseau asserted, after all, that social injustice originates not with the individual but with the existence of institutions. Despite this warning, more repressive forms of nationalism took shape and grew ominously over the next two centuries, culminating in Nazi and Soviet forms of totalitarianism. More… “The Blind Owl and the Underground Man”

Nicholas Cannariato is a writer and teacher living in Chicago.


Should Michelle Obama be angry because she was declared the world’s most powerful woman? Or, if not angry, maybe, at the very least, a little bit annoyed? I hope that she is. I was — not because I find her lacking in power, but for the same reason that I scrunched my nose at the presence of Maria Shriver, Carla Bruni-Sarkozy, and Sheikha Mozah bint Nasser Al-Missned: first ladies all. They are accomplished, to be sure, but Forbes’ list gave only a nod towards their professional lives and philanthropic activities: In this list their power derives from their husbands’.

For Michelle Obama, that’s the man she called “sweet and pathetic” while she was a guest on The View (June 18, 2008), almost five months before Barack Obama was elected to be our POTUS.

Pathetic is how I’d describe… More…

Strong women rulers have always suffered violent attacks on their sexuality. To the Romans, Cleopatra was the lascivious “harlot queen,” a woman “whom her own slaves would grind.” In the Middle Ages, Isabel of England got the same treatment from her enemies, as did Catherine of Medici and Anne of Austria. Even Elizabeth I of England, the Virgin Queen who masterfully remained above the male fantasy mill, could not stem all rumors of her “uncontrollable female desires” and was thought to have been behind the riding-accident death of her longtime friend Robert Dudley’s wife.


But perhaps the most tragic victim was Marie Antoinette. From early in her rule, the Austrian-born queen inspired in her French subjects the most virulent misogyny. The market was flooded with whole libraries of violent pornography that depicted her as a wasteful and treacherous… More…